The first time gallerist Jack Shainman saw the Toyin Ojih Odutola’s drawings, “My socks rolled up and down without my touching them….That’s always the key sign for me.” He purchased all of her existing works, and now represents her. Ojih Odutola was born in Ife, Nigeria, grew up in Alabama, and received her MFA from California College of the Arts in 2012. Ojih Odutola was on Forbes’s 2012 “30 Under Thirty” list, and had her first solo show, “To Wander Determined,” at the Whitney in 2017. Ojih Odutola started out working exclusively in a monochromatic palette drafted entirely in ballpoint pen. Removing color allowed the artist to focus on the sculptural aspects of flesh, “how the skin narrates the work and how it is the basis of the work... a thickly-laid, sculptural bounty of brushstrokes as flesh.” But since the Whitney show, she has added charcoal, pastel, and pencil to her repertoire; her drawings look painted.

“When Legends Die,” which opens at Jack Shainman on Thursday, September 6th, continues the artist’s series on two fictional Nigerian families joined by marriage: the aristocratic UmuEze Amara Clan and the nomadic House of Obafemi. Her subjects are rich. Like Black Panther’s Wakanda, they exist in a fictional African country in which colonialism and slavery never occurred. To quote Rujecko Hockley, who curated “Wandering Determined,” the characters’ wealth “allows them indifference, the right not to care—something rarely afforded nonwhite people.” It also allows Ojih Odutola to ask, “What what wealth look like in these countries if they’d been left alone?”

B. Wurtz has been making art for four decades, but only started getting serious attention after his 2011 career survey show at Metro Pictures. Now his upcoming exhibit, "Domestic Spaces," coincides with “Kitchen Trees,” a major installation for Public Art Fund at City Hall Park in Lower Manhattan, and “This Has No Name,” a museum retrospective of his work at ICA Los Angeles. Wurz is known for found object assemblages composed of quotidian objects: a red binder, blue broom handles mounted in an empty frame, grocery coupons glued onto a box. Disparate pieces are often tied together with strings. At B. Wurtz’s 2012 show at White Flag, these assemblages were displayed on the floor, foregrounding the artist’s interest in anti-monumental sculpture.

All of which makes “Domestic Space,” his upcoming solo show at Metro Pictures, all the more surprising. The exhibit features large sculptures, early films, and photographs printed on fabric. But despite this difference in scale, “Domestic Space” actually continues Wurtz’s Photo/Object series, which he began in 1987. Each item in the series is made up of a sculptural object and a photograph of that object, inviting comparisons between representation and that which is being represented. Moreover, while Wurtz’s abstract photos of, for instance, giant metal objects seem like a far cry from grocery receipts and string, they are printed on domestic textiles, twisting and continuing his interest in the home and the everyday.

Martine Syms was homeschooled through the ninth grade, taught herself advanced coding as a teenager, and graduated from the School of the Art Institute of Chicago at age nineteen. She worked in branding throughout her twenties; “Her final freelance assignment,” Doreen St. Felix writes in her New Yorker profile of Syms, “was to spend a day helping Kanye West write his MTV Michael Jackson Video Vanguard Award acceptance speech, for the 2015 V.M.A.s, in which he announced his bid for the 2020 Presidency.” In the profile––written just prior to Syms’s MoMA solo show––the artist describes herself as a “conceptual entrepreneur,” pointing to her hyper-facility across and interest in a variety of artistic mediums. Syms works in video, performance, and VR, and, in addition to MoMA, has shown at the New Museum, ICA London, and the Hammer, among others. But she is also the founder of Dominica Publishing, an imprint “dedicated to exploring blackness as a topic, reference, marker and audience in visual culture.” Dominica has published books by artists and writers like Hannah Black and Diamond Stingily.

“Big Surprise,” Syms’s second solo show at Bridget Donahue, will run simultaneously with her solo exhibition at Sadie Coles HQ in London. The works combined from both galleries will culminate in an interactive video installation titled Mythiccbeing, a play on “mythic being” and “my thick being.” It is hard to describe this show because it’s hard to describe how good it is. It's one of the best shows this fall, though. Just go.

PAUL BLOODGOODWhite Columns, New YorkJune 29 - September 19

Image via White Columns.

Sadly, Paul Bloodgood, an abstract painter and poet, passed away earlier this spring from early onset Alzheimer’s disease at the age of 58. He suffered a traumatic brain injury in 2010, the result of a mugging, yet continued to work in his studio until 2017. On view at White Column’s is a survey exhibition of the artist’s work from 1993 through the end of his career, and it “functions as both a retrospective of his work and as a testament and a memorial to his extraordinary spirit.”

Bloodgood was of a special breed of artists dedicated to providing opportunities to other artists, whether jobs or exhibition space. After studying at Yale and Maine College of Art, he moved to New York in 1986 and founded an artist-run art transportation and installation company. (The company still exists, now called Art Crating, Inc.) He also co-founded the now-legendary AC Project Room gallery—an artist-run commercial gallery in Lower Manhattan that, over its 20-year lifespan, cultivated artists like Doug Aitken, Isa Genzken, Byron Kim, Anne Chu, among many others.

As an artist, Bloodgood made mostly abstract paintings (though some veered on being representational landscapes). In 1993, Jerry Saltz wrote of his work, “Paul Bloodwood’s… paintings are filled with decisions about color, scale, surface and placement that seem unpredictable and wrong—therefore the paintings feel right and fermenting.” Alongside his many colorful paintings of varying scale, White Columns presents three vitrines showcasing a selection of materials that relate the the AC Project room—like drawings, collages, research materials, and the original art work for Bloodgood’s 1995 artist’s book. Bloodgood’s work has been exhibited at galleries like Gavin Brown’s enterprise (1994), David Zwirner (2008), and Sandra Gering (1993 and 1995) among many others. Though this show isn't a season opener (it opened towards the end of June), it's time you take a look-see before it closes in just a couple weeks.

Image via Público.

Collaborating since 2001, Portuguese artists João Maria Gusmão and Pedro Paiva have never shown their work in New York—making their first show in the city, at Andrew Kreps Gallery, a big one. Their work isn’t very known stateside (though they’ve exhibited extensively in Europe), so head to Andrew Kreps before October 20 for an introduction to their work: an immersive, architectural installation that includes new films recently shot in Lisbon. “Decelerating footage of the realm of domestic and biological objects, ornithology, science fiction, AC electric current, thaumaturgy, fake and real garbage, household appliances, socks, hardware and mirrors… the films aim to reconstruct the experience of time from an unnatural state, opening the objects depicted to a paradoxical allegory—an anthropomorphic worldview is created on top of an otherwise extra-terrestrial frontier,” says the press release.

Parsing this statement isn’t exactly easy… which is why it might just be the kind of thing you have to see in person to fully comprehend. If the films are anything like previous ones they’ve shown at Camden Arts Center in London, they’re shot with high-definition film, silent, and short—making them feel full of gravity and expectation, despite their near-absurdist nature. According to Adrian Searle writing for the Guardian about the London exhibition, “They can make a drama out of nothing and art out of anything.”

ARIA DEANChâteau Shatto, Los AngelesSeptember 8 – October 27

Image via Cultured Magazine.

Last summer, Aria Dean was included in a group show at Los Angeles’ Château Shatto, sharing the spotlight with folks like Jordan Wolfson, Bunny Rogers, Chris Kraus, Martine Syms, Parker Ito, among others. Now, she’s represented by the four-year-old gallery. Chateau Shatto opened their season with a solo show with the young artist and writer (she’s written for Artforum, Art in America, The New Inquiry, Topical Cream Magazine, Mousse Magazine, CURA, Texte our Kunst, and many others—and we included her in our “2018’s Best Pirces of Art Criticism" article. ) “Dean asks if blackness can be given form via a purely material or structural presence,” says the press release. In the case of this show, these material manifestations are minimal sculptures made of clay and resin, continuously looped videos, and a replicative sculpture.

The clay sculptures address the landscape of the American South; but their slick, minimal appearance “undoes” the implied historical baggage. The videos are edited from crowd scenes in hip-hop videos, questioning “the relationship between the individual and collective being, between the continuous and discrete.” And for the stand alone sculpture? It’s a “literal invocation of a ghost”—whatever that means.

Dean is a cerebral artist, and her conceptual works are not always the easiest to access—but her perspective is sharp, focused, and illuminating if you’re patient enough to understand it. Dean works as the assistant curator of net art and digital culture at Rhizome, and she’s had recent solo and two-person shows at Arcadia Missa in London, American Medium in New York, and The Sunroom in Richmond.

GERTRUDE ABERCROMBIEKarma, New YorkAugust 9 - September 23

Image via Toomey & Co. Auctioneers.

It's been 66 years since American Surrealist Gertrude Abercombie's work has received a dedicated exhibition in New York. Having had her last exhibition in 1952 (Abercrombie passed away in 1977), the Chicago-native has made an extraordinary comeback thanks to a monumental solo show at Karma, which includes over 70 of the late artist's works and is accompanied by a massive biographical tome. Telling of both her approach to painting as well as her personality as a jazz-age bohemian saloniste (among friends, she was often called "The Queen of Chicago"), Abercrombie had once written in a note to herself, "Surrealism is meant for me because I am a pretty realistic person but don’t like all I see.” Her whimsical and curious compositions are awash in a mysterious ennui reminiscent of Edvard Munch and bear a marked allegorical stillness which calls to mind many of Magritte's works.

Since the show's opening last month, Abercrombie has become the talk of the town, garnering rave reviews in both the New Yorker and the New York Times, finally shedding light on an artist who thought of herself as "the other Gertrude," hosting salons from her home on Dorchester Avenue. Like Stein, Abercrombie created a space that was remarkably progressive, opening her home as a safe haven for black musicians who were often refused room and board at local establishments and for LGBTQ artists throughout the '40s, '50s, and '60s. Her survey exhibition at Karma is not to be missed and will, given her fascinating life and work, beg the question—what took so long?

Sculptor and ceramic-artist Simone Leigh is having one hell of a year. Since October, Leigh's powerful work exploring the black diaspora and black female subjectivity has earned her the Studio Museum in Harlem's Wien Artist Prize, the Foundation for Contemporary Art Grant, the Guggenheim's prestigious Hugo Boss Prize shortlist, and her first public art commission at the Highline—a 16-foot tall bronze sculpture of an African-American woman whose torso expands into a skirt-like house called Brick House—unveiling in April. In discussing the title of her upcoming Highline piece with the New York Times, Leigh recalls the eponymous and classic funk number by the Commodores: “It was a celebration of black womanhood that we hadn’t really heard. That was what was resonant about it—not necessarily a male gaze but that beauty was associated with mightiness and strength, as opposed to fragility. Being solid.”

Keeping up with Leigh's well-earned ascent is her first solo show represented by Luhring Augustine, joining their esteemed roster of artists including Pipilotti Rist, Rachel Whiteread, and Glenn Ligon. For those unfamilar with her work, this show is the perfect opportunity to get acquainted before all of the #artselfies that are bound to flood your feed once Brick House debuts.

If you can believe it, "Au Natural" at the New Museum will be the first time Sarah Lucas' work will receive a full survey in the United States—shocking, we know! (This month also marks the release of the most comprehensive survey book of the artist's work, published by Phaidon and available on Artspace.) Despite the fact that Lucas was a core member of the Young British Artists of the 1980s (along with Damien Hirst, Tracey Emin, Chris Ofili) and is a household name in art-loving households across the pond, those of us stuck in the land of the free have had to live more or less without her provocative tongue-in-cheek confrontations of gender, sexuality, and identity, hallmarked by her iconic photograph Eating a Banana (1990), wherein Lucas looks at us while, well... eating a banana, daring us to make the fellative associative jump.

Since the YBA days of the late '80s, collaborating with Emin and curated by Hirst, Lucas' work has been extensively exhibited at institutions including the Tate Britain, the Tate Modern, and (fittingly) the Freud Museum, and in 2015, she represented Britain in the Venice Biennale. Admired as the notorious bad girl of the British art scene, Lucas was once called "the wildest of the Young British Artists, partying hard and making art that was provocative and at times genuinely shocking" in a profile by The Guardian. Opening at the end of this month, "Au Natural: Sarah Lucas" brings together more than 150 works in photography, sculpture, and installation throughout the museum's three main floors to reveal the breadth and ingenuity of Lucas' practice, giving New Yorkers even more opportunity to feel super weird about sex. First one to laugh nervously is a prude!

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Buyers are responsible for determining the value, condition and authenticity of the goods. Buyers participating in the Artspace Auctions represent and warrant by placing any bid that they are ready, willing and able to pay the purchase price bid, all applicable taxes and the buyer’s premium all within 24 hours of the close of the auction if they are the successful bidder. Any bids submitted using a buyer’s registration log in information shall be deemed made or authorized by that buyer. Each buyer placing any bid represents and warrants that such bids are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state laws. Each buyer is responsible for payment of New York State and local sales tax, any applicable use tax, any federal luxury tax or any other taxes assessed on the purchase of the goods. The buyer is solely responsible for identifying and obtaining any necessary export, import, or other permit for the delivery of the goods and for determining whether the goods are subject to any export or import embargoes.

Artspace not Responsible for Auction Submissions; No Representations or Warranties

Sellers and buyers agree that Artspace is not responsible for and does not make any representations or warranties (express or implied) as to the goods offered, including without limitation as to merchantability, fitness for a particular purpose, the accuracy of the description of the goods, the physical condition, size, quality, rarity, importance, medium, provenance, whether the goods are subject to export or import restrictions or embargoes, shipment or delivery, packing or handling, the ability of the buyer to pay, the ability of the seller to collect the purchase price, or any other representation or warranty of any kind or nature. Artspace is not responsible for any errors or failures to execute bids placed online, including, without limitation, errors or failures caused by (1) loss of connection to the internet or to the online bidding software by any party, (2) a breakdown or failure of the online bidding software, or (3) a breakdown or failure of any seller’s or buyer’s internet connection or computer or (4) any errors or omissions in connection with the bidding process.

Open Positions on Careers Pages

We may list open employment positions on this web site. These postings are for informational purposes only and are subject to change without notice. You should not construe any information on this Site or made available through Site as an offer for employment. Nor should you construe anything on this web site as a promotion or solicitation for employment not authorized by the laws and regulations of your locale.

Privacy Policy; User Information

In the course of your use of the Site, you may be asked to provide certain information to us. Our use of any information you provide via the Site shall be governed by our Privacy Policy available at here artspace.com/privacy. We urge you to read our Privacy Policy. You acknowledge and agree that you are solely responsible for the accuracy and content of such information.

International Use

We control and operate the Site from our offices in the United States of America, and all information is processed within the United States. We do not represent that materials on the Site are appropriate or available for use in other locations. Persons who choose to access the Site from other locations do so on their own initiative, and are responsible for compliance with local laws, if and to the extent local laws are applicable.

You agree to comply with all applicable laws, rules and regulations in connection with your use of the Site. Without limiting the generality of the foregoing, you agree to comply with all applicable laws regarding the transmission of technical data exported from the United States or the country in which you reside.

Proprietary Rights

As between you and Artspace (or other company whose marks appear on the Site), Artspace (or the respective company) is the owner and/or authorized user of any trademark, registered trademark and/or service mark appearing on the Site, and is the copyright owner or licensee of the Content and/or information on the Site, unless otherwise indicated.

Except as otherwise provided herein, use of the Site does not grant you a license to any Content, features or materials you may access on the Site and you may not modify, rent, lease, loan, sell, distribute or create derivative works of such Content, features or materials, in whole or in part. Any commercial use of the Site is strictly prohibited, except as allowed herein or otherwise approved by us. You may not download or save a copy of any of the Content or screens for any purpose except as otherwise provided by Artspace. If you make use of the Site, other that as provided herein, in doing so you may violate copyright and other laws of the United States, other countries, as well as applicable state laws and may be subject to liability for such unauthorized use. We do not grant any license or other authorization to any user of our trademarks, registered trademarks, service marks, other copyrightable material or any other intellectual property by including them on the Site.

The information on the Site including, without limitation, all site design, text, graphics, interfaces, and the selection and arrangements is protected by law including copyright law.

Product names, logos, designs, titles, graphics, words or phrases may be protected under law as the trademarks, service marks or trade names of Artspace LLC, or other entities. Such trademarks, service marks and trade names may be registered in the United States and internationally.

Without our prior written permission, you agree not to display or use our trademarks, service marks, trade names, other copyrightable material or any other intellectual property in any manner.

Links from and to the Site

You may be able to link to third party websites ("Linked Sites") from the Site. Linked Sites are not, however, reviewed, controlled or examined by us in any way and we are not responsible for the content, availability, advertising, products, information or use of user information or other materials of any such Linked Sites, or any additional links contained therein. These links do not imply our endorsement of or association with the Linked Sites. It is your sole responsibility to comply with the appropriate terms of service of the Linked Sites as well as with any other obligation under copyright, secrecy, defamation, decency, privacy, security and export laws related to the use of such Linked Sites and any content contained thereon. In no event shall we be liable, directly or indirectly, to anyone for any loss or damage arising from or occasioned by the creation or use of the Linked Sites or the information or material accessed through these Linked Sites. You should direct any concerns to that site's administrator or Webmaster. We reserve the exclusive right, at its sole discretion, to add, change, decline or remove, without notice, any feature or link to any of the Linked Sites from the Site and/or introduce different features or links to different users.

Permission must be granted by us for any type of link to the Site. To seek our permission, you may write to us at the address below. We reserve the right, however, to deny any request or rescind any permission granted by us to link through such other type of link, and to require termination of any such link to the Site, at our discretion at any time.

INDEMNITY

You agree to defend, indemnify and hold Artspace LLC, its directors, officers, employees, agents, vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates harmless from any and all claims, liabilities, damages, costs and expenses, including reasonable attorneys' fees, in any way arising from, related to or in connection with your use of the Site, your violation of any law, your violation of the Terms or the posting or transmission of any User Content, or materials on or through the Site by you, including, but not limited to, any third party claim that any information or materials you provide infringes any third party proprietary right. You agree to cooperate as fully as reasonably required in the defense of any claim. Your indemnification obligation will survive the termination of these Terms and your use of the Site.

DISCLAIMER OF WARRANTIES

YOU UNDERSTAND AND AGREE THAT:

THE SITE, INCLUDING, WITHOUT LIMITATION, ALL CONTENT, FUNCTION, MATERIALS AND SERVICES IS PROVIDED "AS IS," WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, ANY WARRANTY FOR INFORMATION, DATA, DATA PROCESSING SERVICES OR UNINTERRUPTED ACCESS, ANY WARRANTIES CONCERNING THE AVAILABILITY, ACCURACY, COMPLETENESS, USEFULNESS, OR CONTENT OF INFORMATION, AND ANY WARRANTIES OF TITLE, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. COMPANY DOES NOT WARRANT THAT THE SITE OR THE FUNCTION, CONTENT OR SERVICES MADE AVAILABLE THEREBY WILL BE TIMELY, SECURE, UNINTERRUPTED OR ERROR FREE, OR THAT DEFECTS WILL BE CORRECTED. Artspace MAKES NO WARRANTY THAT THE SITE WILL MEET USERS' EXPECTATIONS OR REQUIREMENTS. NO ADVICE, RESULTS OR INFORMATION, OR MATERIALS WHETHER ORAL OR WRITTEN, OBTAINED BY YOU THROUGH THE SITE SHALL CREATE ANY WARRANTY NOT EXPRESSLY MADE HEREIN. IF YOU ARE DISSATISFIED WITH THE SITE, YOUR SOLE REMEDY IS TO DISCONTINUE USING THE SITE.

ANY MATERIAL DOWNLOADED OR OTHERWISE OBTAINED THROUGH THE USE OF THE SITE IS DONE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGE THAT RESULTS FROM THE DOWNLOAD OF ANY SUCH MATERIAL.

Artspace DOES NOT ENDORSE, WARRANT OR GUARANTEE ANY PRODUCTS OR SERVICES OFFERED OR PROVIDED BY OR ON BEHALF OF THIRD PARTIES ON OR THROUGH THE SITE. Artspace IS NOT A PARTY TO, AND DOES NOT MONITOR, ANY TRANSACTION BETWEEN USERS AND THIRD PARTIES WITHOUT THE DIRECT INVOLVEMENT OF COMPANY.

LIMITATION OF LIABILITY

IN NO EVENT SHALL Artspace, ITS AFFILIATES OR ANY OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, PARTNERS, SUBSIDIARIES, DIVISIONS, SUCCESSORS, SUPPLIERS, DISTRIBUTORS, AFFILIATES VENDORS, CONTRACTORS, GALLERIES, ARTISTS, INSTITUTIONS, REPRESENTATIVES OR CONTENT OR SERVICE PROVIDERS BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL, CONSEQUENTIAL, EXEMPLARY OR PUNITIVE DAMAGES ARISING FROM OR DIRECTLY OR INDIRECTLY RELATED TO THE USE OF, OR THE INABILITY TO USE, THE SITE OR THE CONTENT, MATERIALS AND FUNCTION RELATED THERETO, INCLUDING, WITHOUT LIMITATION, LOSS OF REVENUE, OR ANTICIPATED PROFITS, OR LOST BUSINESS, DATA OR SALES, OR COST OF SUBSTITUTE SERVICES, EVEN IF COMPANY OR ITS REPRESENTATIVE OR SUCH INDIVIDUAL HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY SO SOME OF THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU. IN NO EVENT SHALL THE TOTAL LIABILITY OF Artspace TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION (WHETHER IN CONTRACT OR TORT, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE OR OTHERWISE) ARISING FROM THE TERMS OR YOUR USE OF THE SITE EXCEED, IN THE AGGREGATE, $100.00. WITHOUT LIMITING THE FOREGOING, IN NO EVENT SHALL Artspace OR ITS RESPECTIVE OFFICERS DIRECTORS, EMPLOYEES, AGENTS, SUCCESSORS, SUBSIDIARIES, DIVISIONS, DISTRIBUTORS, SUPPLIERS, AFFILIATES OR THIRD PARTIES PROVIDING INFORMATION ON THIS SITE HAVE ANY LIABILITY FOR ANY DAMAGES OR LOSSES ARISING OUT OF OR OTHERWISE INCURRED IN CONNECTION WITH THE LOSS OF ANY DATA OR INFORMATION CONTAINED IN YOUR ACCOUNT OR OTHERWISE STORED BY OR ON BEHALF Artspace.

You hereby acknowledge that the preceding paragraph shall apply to all content, merchandise and services available through the Site.

Applicable Law/Jurisdiction

You agree that the laws of the state of New York, excluding its conflicts-of-law rules, shall govern these Terms. Please note that your use of the Site may be subject to other local, state, national, and international laws. You expressly agree that exclusive jurisdiction for resolving any claim or dispute with Artspace relating in any way to your use of the Site resides in the state and federal courts of New York County, New York, and you further agree and expressly consent to the exercise of personal jurisdiction in the state and federal courts of New York County. In addition, you expressly waive any right to a jury trial in any legal proceeding against Artspace its parent, subsidiaries, divisions, or affiliates or their respective officers, directors, employees, agents, or successors under or related to these Terms. Any claim or cause of action you have with respect to use of the Site must be commenced within one (1) year after the claim arises.

Consent to Processing

By providing any personal information to the Site, all users, including without limitation users in the European Union, fully understand and unambiguously consent to the collection and processing of such information in the United States.

Any inquiries concerning these Terms should be directed to us at the address below.

Risk of Loss

The items purchased from our Site are shipped by a third-party carrier pursuant to a shipment contract. As a result, risk of loss and title for such items may pass to you upon our delivery to the carrier.

Purchasing

Artspace and its partners strive for complete accuracy in description and pricing of the products on the Site. However, due to the nature of the internet, occasional glitches, service interruptions or mistakes may cause inaccuracies to appear on the Site. Artspace has the right to void any purchases that display an inaccurate price. If the displayed price is higher than the actual price, you may be refunded the overcharge. If the displayed price is less than the actual price, Artspace will void the purchase and attempt to contact you via either phone or email to inquire if you would like the item for the correct price.

You acknowledge that temporary interruptions in the availability of the Site may occur from time to time as normal events. Also, we may decide to cease making available the Site or any portion of the Site at any time and for any reason. Under no circumstances will Artspace or its suppliers be held liable for any damages due to such interruptions or lack of availability.

Notices

Notices to you may be made via either email or regular mail. The Site may also provide notices of changes to the Terms or other matters by displaying notices or links to notices to you on the Site.

Contests

In the event of a dispute regarding the identity of the person submitting the entry, the entry will be deemed to be submitted by the person in whose name the e-mail account is registered. All drawings will be conducted under the supervision of Sponsor. The decisions of the Sponsors are final and binding in all matters relating to this contest. Sponsors reserve the right, at its sole discretion, to disqualify any individual it finds, in its sole discretion, to be tampering with the entry process or the operation of the Contest or the Website located at www.artspace.com; to be in violation of the Terms of Service of the Website; to be acting in violation of these Official Rules; to be acting in a disruptive manner, or with intent to annoy, abuse, threaten or harass any other person. If for any reason this Contest is not capable of running as planned due to infection by computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other causes which, in the sole opinion of Sponsor, corrupt or affect the administration, security, fairness, integrity, or proper conduct of this Contests, Sponsor reserve the right to cancel, terminate, modify or suspend the Contest.

Limitations of Liability

SPONSOR DOES NOT ASSUME RESPONSIBILITY FOR ANY ERROR, OMISSION, INTERRUPTION, DELETION, DEFECT, DELAY IN OPERATION OR TRANSMISSION, COMMUNICATIONS LINE FAILURE, THEFT OR DESTRUCTION OR UNAUTHORIZED ACCESS TO ITS WEBSITES. SPONSOR IS NOT RESPONSIBLE FOR ANY PROBLEMS OR TECHNICAL MALFUNCTION OF ANY TELEPHONE NETWORK OR TELEPHONE LINES, COMPUTER ON-LINE SYSTEMS, SERVERS, COMPUTER EQUIPMENT, SOFTWARE, FAILURE OF ANY E-MAIL OR ENTRY TO BE RECEIVED BY SPONSOR ON ACCOUNT OF TECHNICAL PROBLEMS, HUMAN ERROR OR TRAFFIC CONGESTION ON THE INTERNET OR AT ANY WEBSITE, OR ANY COMBINATION THEREOF.
SPONSOR IS NOT RESPONSIBLE FOR ANY INCORRECT OR INACCURATE CAPTURE OF INFORMATION OR THE FAILURE TO CAPTURE SUCH INFORMATION, WHETHER CAUSED BY WEBSITE USERS, TAMPERING OR HACKING, OR BY ANY OF THE EQUIPMENT OR PROGRAMMING ASSOCIATED WITH OR UTILIZED IN THE CONTEST. SPONSOR IS NOT RESPONSIBLE FOR INJURY OR DAMAGE TO PARTICIPANTS’ OR TO ANY OTHER PERSON’S COMPUTER RELATED TO OR RESULTING FROM PARTICIPATING IN THIS CONTEST OR FROM OR USE OF THE WEBSITE.
IN NO EVENT WILL SPONSOR, OR THEIR PARENT COMPANIES, DISTRIBUTORS, AFFILIATES, SUBSIDIARIES, OFFICERS, VENDORS, AND AGENCIES, EACH OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, REPRESENTATIVES AND AGENTS, BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF YOUR PARTICIPATION IN THIS CONTEST, ACCESS TO AND USE OF THE WEBSITE OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE WEBSITE. WITHOUT LIMITING THE FOREGOING, EVERYTHING ON THE WEBSITE AND IN THIS CONTEST IS PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

Disputes

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.
In the event of a dispute as to the identity of the winner based on an e-mail address, the winning entry will be declared made by the authorized account holder of the e-mail address submitted at time of entry. “Authorized account holder is defined as the natural person who is assigned to an e-mail address by an Internet access provider, on-line service provider or other organization (e.g., business, educational, institution, etc.) that is responsible for assigning e-mail addresses for the domain associated with the submitted e-mail address

Contacting Us

To contact us with any questions or concerns in connection with this Agreement or the Site, or to provide any notice under this Agreement to us please go to Contact Us or write to us at:

General Information

The Terms constitute the entire agreement between you and Artspace and govern your use of the Site, superseding any prior agreements between you and Artspace. You also may be subject to additional terms and conditions that are applicable to certain parts of the Site.

You agree that no joint venture, partnership, employment, or agency relationship exists between Artspace and you as a result of this Agreement or your use of the Site.

Any claim or cause of action you may have with respect to Artspace or the Site must be commenced within one (1) year after the claim or cause of action arose.

Our failure to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision. If any provision of the Terms is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties' intentions as reflected in the provision, and the other provisions of the Terms remain in full force and effect.

You may not assign the Terms or any of your rights or obligations under the Terms without our express written consent.

The Terms inure to the benefit of Artspace's successors, assigns and licensees. The section titles in the Terms are for convenience only and have no legal or contractual effect.

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How it Works

How bidding works

To place a bid, enter the maximum amount you are willing to pay for the work. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

Bid Increments

Bidding increments increase at the following intervals:

Below $400: $50

Between $400 and $699: $100

Between $700 and $1,499: $200

Between $1,500 and $2,499: $300

Between $2,500 and $4,999: $500

Between $5,000 and $9,999: $1,000

Between $10,000 and $19,999: $2,000

Between $20,000 and $29,999: $3,000

Between $30,000 and $49,999: $4,000

Between $50,000 and $99,999: $5,000

Above $100,000: $10,000

You will receive an email confirmation of your bid and when you are outbid.

If you are the winning bidder, you will be contacted 48 hours after of the close of the auction.

Maximum Bidding

Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to spend for a work, though this does not necessarily mean you will pay that price. As the auction unfolds, we will increase your bid by increments to ensure you remain the highest bidder. If the winning amount is less than your maximum bid, you will pay the current increment. If your maximum bid no longer exceeds the current bid, you will receive an outbid notification email, and have the option to bid again.

In the case of multiple bidders placing the same maximum bid, the first person to place the maximum amount takes precedence as the highest bid until another bidder exceeds the maximum amount.

Buyer's Premium & Additional Charges

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. For Artspace Benefit Auctions, Buyer's Premiums are not applied. If they are, this will be clearly noted. Purchases made from all auctions, including benefit auctions, are subject to sales tax.

Check Out

Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price including commission, shipping, and taxes and duties when applicable. Promotion codes cannot be applied to auction works.

Credit Card Validation

In order to secure a bid, please enter your credit card details below.
We will not charge your card but only use it to validate your bid.
We only need to validate your card once. You will be notified that you are the winning bidder
before your card is charged, and you will have the option to change your payment method at that time.

Frame

All our frames are manufactured in the USA, using eco-friendly & sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

White Satin

Honey Pecan

Black Satin

Mat

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

Acrylic Glazing

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

Dimensions

For images up to 30" x 40"

1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.

We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

You will be redirected to Affirm to provide your information for real-time decision. Choose to pay over 3, 6, or 12 months.*

3

Enjoy your purchase immediately

Complete your purchase in Affirm and you'll be redirected to Artspace to view your order confirmation.

* Subject to credit check and approval. Down payment may be required. For purchases under $100, limited payment options are available. Estimated payment amount excludes taxes and shipping fees. Affirm loans are made by Cross River Bank, a New Jersey-chartered bank, Member FDIC. See www.affirm.com/faqs for details.